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Theo Verelst

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Everything posted by Theo Verelst

  1. Technically, if Yamaha wants to make sure the software ("uncracked") will only be used by one person, probably the expensive and hard to transport synthesizer can be used as part of the key encryption principles. T
  2. Last year, I got access to a good 4k+ 12th gen fast notebook, Aero 16, coming with windows 11, which I'm not a fan of for music applications and running synthesizer software, though I suppose Qubase does function ( I have some basic version I could put on the notebook), I never got to quite deeply like it for my purposes. I like the speed and professional behaviors of Linux, I've even tried the Windows Subsystem for Linux with a similar Fedora Linux to run linux audio tools on, to some extend that is successful though the graphics card acceleration programs I wanted to port did not work thus far. Until recently the dual boot Fedora 39 linux I put on the nice notebook had issues, but with the latest work the developers have put into the latest kernel and the OS, it's turned out much better, kind of pretty and restful, and at least running sound under Pipewire/Jack, of course recognizing the Midi keyboards and Usb audio interfaces properly, also it's stable. Only the fast (3070Ti) graphics card is recognized but as far as I can see not really usable which however does, together with the processor overclocking settings (not on the edge) lead to it running very cool (<45-50 Celcius in most cases), and therefor most the time fan-less, which is pleasant. Now there's a lot of things Linux can be but as things progress, the various methods of audio software being available makes it preferable to know proper system management skills instead of just having to press "install". So it took me a day to get Surge-XT and Linux Studio Plugins the way I wanted it under Carla to start a network of tools up. It worked and the combination sounded different then what I've achieved so far, and it appears the jack (pipewire) and JackMidi are a lot more acting the way I want the synthesizer software to respond. TV
  3. I listened to the video and don't know which " string machines " acted as sources for the samples/emulations, but I did not find the sound exquisite at all, for which partially YT and lossy audio codecs can be to blame but probably not in every way. TV
  4. I think she has a load of main things wrong, and the chords sound illogical and somewhat overdone. Of course, the production, effects and instrument mastery come into play for more than a few elements. T
  5. Is the objective to play a good cover, or a proper analysis? T
  6. If I would make a quality high track, this tool would have to pass the 'don't touch my audio data' test first, I would compare a saved file byte for byte with the inout file first, in pieces where there is no processing, such that I know it doesn't just randomly apply (subtle) filters. In the (not recent) past I recall this tool did not pass this test. T
  7. I think I'd like her as a person but the discussion about what type of concert pianist is a concert pianist is strange, there is a library full of classical pieces and times many people want to hear some of them played properly. I think she is into what the styles she plays are supposed to say, and how the show is hers, then success is more deserved. T
  8. There is varying types of classical that can raise my attention at times, and if I know the lick or passage, I may well be able to do an imitation on the digital piano, which by now should be able to sound like the real machine. Apart from personal preferences I like the playing choices and testing of the acoustics. Digital recording still generally sound pretty awful unfortunately, that's an interesting subject. T
  9. my experience with classical music with score reading is pretty much only from high school where I had a girl friend who'd practice with me, and after she was gone, I played by ear and by theoretical understanding (I read books and practiced chords and later rhythm with discipline), or for instance a little later in a small churchy setting I became proficient with guitar chord symbols. Now I've for some reason or another followed some of Tiffany Poon on Youtube, who I think is good at what she does, and she made progress with a selling CD and international concerts. I suppose for a classical pianist (only ?) that's pretty good, though I don't know what a Bill Board success actually means for people or financially, etc. TV
  10. Sometimes I listen to Espen Kraft nitting an analog sound (through YT...) and like it fine, perhaps depending on the music style, which included sort of standard analog patches and of course some knowledge about effects. That too is using instruments for different tracks, and also is a more difficult activity than it might seem. The challenge is what I like besides the good music, and the alternative bass sounds are a great many, each with their own style of playing. For some of the advanced I think putting down some instruments on (virtual) tape isn't the main challenge, but achieving a certain narrowly defined production accuracy. T
  11. Working on the continued saga of using the hidden processing capacities of my instruments to (indeed) get sounds musical enough that I want to play them, I regularly take the two big keyboards with a different sound on them as if they are "split" setup, so piano and bass or pad and synthesizer, etc can sound together. Also, I enjoy (when the sound is right enough) to take the fairly accurate Kurzweil sequencer, and set up a little jam with bass and drums of some kind. For me, that is successful when the sound is o.k. or better, which out of the box I seldom find the case, for pretty much all demos I've heard. That is to distinguish I really need that sound to be good, or I feel no motivation feel like the IT-er behind a computer that happens to run music software that happens to produce something they call sound. Anyhow, with inspiring enough sound, the challenge becomes to set up a jam or cover a song by taking on a number of instruments, like bass, drums, piano, synthesizer, a bit like producing a Midi file of a song, but now for more realistic and inspiring instruments. That is hard. First of all your setup will have to do production tricks to escape the sample player sound, as well as that you need to play bass and drums o the keyboard, which isn't trivial, then, the mix needs to work somehow magically, and you need to be proficient enough on the "virtual" instrument to make it believable. Just a basic (not necessarily simple) blues is already a challenge, so tackling harder popular songs is quite the challenge! T
  12. The actually cool Bond song singer! Stansfield's hit is a good (end) 80s production for dancing and general listening IMO, must be fun to do glorified GM Midi rendition, or would you say that the "new" software is close to the real thing ? Listening to a lot of great hits is fatiguing because of the built in spoiler tracks and dealings with what I guess are mood influencing production tricks to prevent other interpretations of the materials then the intended one. You rendition is a bit faster I think, generally a bit fuller sound but a lot less succinct and a little boomy in the bass range. This might all be in the specification, of course.. T
  13. Also nominated should be Steve Winwood and George Duke.
  14. I remain with my Joe Jackson nomination, it perhaps historically would have to be this: Theo V
  15. I could start a club on YT, ask some very successful person on there to spare some group subscribers and sell some stickers and stuff. Having level zero monetizing approvability must be the first step to making 7k per mil views... T
  16. Active classes aren't the same for higher education as passive lectures, but I suppose when it's a top level school in the U.S., there's little space for "I don't like such or such professor so I don't show up" which is a good defense for the creative human being when confronted with something that sucks. Or maybe the parents paid for the study, but their offspring doesn't deeply feel appreciation for the opportunity, not there's an ancient motivation..
  17. I'm sure it would be at least somewhat interesting and with taste. How do you compete in the musical landscape as it developed with the great names from the past if you'd already think that some sort of maxim of the kind is what you should go for ? What would a modern day Oscar do? What would a Grolnic find for a band, how would a contemporary Duke find his Duke example? T
  18. When I saw them around '90 they sounded pretty good, and there was movement going on in the audience. T
  19. I do not own an M, I just have the idea it would interest me (contrary to most other things), I was just trying to get some info. Workload and reliable maximum processor power for a plugin on Windows as well as cache use strategies that are reliable depending on virtual memory management, memory bandwidth are noteasy to understand or measure, and may depend on the mode you use (e.g. energy saving or power). It's possible to create reliable software with loose real time properties, but as soon as the processor (and possibly even the graphics and other cards) will start to get some real work done, and get hot as a result, reliable drop out free and constant response delay audio is hard to achieve, these machines are not really excellently made for real time behavior.. T.
  20. From the Blues Brothers in Bob's country bunker, this is the song played by Bob (or his wife) when the good ol' blues brothers come in: It took me a while to find the proper original.. TV
  21. Limiting the polyphony does not in every case limit the workload. Often, it will only through the note reassignment logic, or soft release note reuse, be that actual workload is reduced, what would be possible reasons for 20 notes being played with a 64 max polyphony be any different workload than the same 20 notes with a 128 polyphony? Sure, there can be organ algorithms that continuously simulate the whole set of primary harmonics, and there is memory management which can be sensitive to claiming twice as much fast memory for immediate use, so there could be that. If the indicated polyphony load is as some have reported a fast notebook should be able to run the whole machine, and when getting nice and hot (...) maybe a some more, under the condition that that remains properly responsive and sound and sample accuracy is maintained, that is an interesting proposition. T
  22. I can't necessarily mention a real pop god from this era either, comparison-wise.
  23. As I recall it from playing the song, they're not exactly 16ths
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